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"content": "\u003cp>Illma Gore, the San Francisco-raised artist who caused a \u003ca href=\"http://ww2.kqed.org/arts/2016/03/29/license-to-illma-naked-trump-portrait-gets-artist-banned-from-facebook-ebay/\" target=\"_blank\" rel=\"noopener\">stir earlier this year with her portrait\u003c/a> of Donald Trump with a “micro penis,” is featured in a video on the comedy website Funny Or Die released Wednesday.\u003c/p>\n\u003cp>In the video, titled “How to Draw Trump’s Penis,” Gore spoofs the creation of her infamous painting of the presumptive Republican presidential nominee that resulted in a firestorm of controversy after she posted it to Facebook in early February. Though the painting was shared over 260,000 times in less than a month, it also led to Gore being banned from Facebook and eBay, as well as daily death threats from Trump supporters. \u003c/p>\n\u003cp>The backlash reached its peak near the end of April of this year when \u003ca href=\"http://www.theguardian.com/us-news/2016/may/07/donald-trump-penis-painting-ilma-gore\" target=\"_blank\" rel=\"noopener\">Gore says she was randomly punched in the face\u003c/a> by a man who identified himself as a Trump supporter before driving off. \u003c/p>\n\u003cp>Though the attack was far from funny, Gore decided to come back at her critics this week with her hilarious video, which you can watch below (\u003cb>WARNING:\u003c/b> Video contains images not appropriate for children): \u003c/p>\n\u003cdiv style=\"text-align:left;font-size:x-small;margin-top:0;width:640px\">\u003c/div>\n\u003cp>Though Gore and her Trump portrait have received a lot of attention, he’s not the only presumptive presidential nominee to be portrayed naked in painting: artist \u003ca href=\"http://sarah-sole.com/index.php\" target=\"_blank\" rel=\"noopener\">Sarah Cole\u003c/a> has drawn attention for her \u003ca href=\"http://www.huffingtonpost.com/entry/sarah-sole-hillary-clinton-paintings_us_564130dfe4b0411d30724467\" target=\"_blank\" rel=\"noopener\">portrayal of Hillary Clinton naked\u003c/a>, \u003ca href=\"http://sarah-sole.com/images/Paintings/MyPrivateHillary_AcrylicOnCanvas_72x48_2015_Sarah_Sole.jpg\" target=\"_blank\" rel=\"noopener\">holding a wine bottle\u003c/a>. But in Cole’s case, she actually considers herself a fan of Clinton.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Illma Gore, the San Francisco-raised artist who caused a \u003ca href=\"http://ww2.kqed.org/arts/2016/03/29/license-to-illma-naked-trump-portrait-gets-artist-banned-from-facebook-ebay/\" target=\"_blank\" rel=\"noopener\">stir earlier this year with her portrait\u003c/a> of Donald Trump with a “micro penis,” is featured in a video on the comedy website Funny Or Die released Wednesday.\u003c/p>\n\u003cp>In the video, titled “How to Draw Trump’s Penis,” Gore spoofs the creation of her infamous painting of the presumptive Republican presidential nominee that resulted in a firestorm of controversy after she posted it to Facebook in early February. Though the painting was shared over 260,000 times in less than a month, it also led to Gore being banned from Facebook and eBay, as well as daily death threats from Trump supporters. \u003c/p>\n\u003cp>The backlash reached its peak near the end of April of this year when \u003ca href=\"http://www.theguardian.com/us-news/2016/may/07/donald-trump-penis-painting-ilma-gore\" target=\"_blank\" rel=\"noopener\">Gore says she was randomly punched in the face\u003c/a> by a man who identified himself as a Trump supporter before driving off. \u003c/p>\n\u003cp>Though the attack was far from funny, Gore decided to come back at her critics this week with her hilarious video, which you can watch below (\u003cb>WARNING:\u003c/b> Video contains images not appropriate for children): \u003c/p>\n\u003cdiv style=\"text-align:left;font-size:x-small;margin-top:0;width:640px\">\u003c/div>\n\u003cp>Though Gore and her Trump portrait have received a lot of attention, he’s not the only presumptive presidential nominee to be portrayed naked in painting: artist \u003ca href=\"http://sarah-sole.com/index.php\" target=\"_blank\" rel=\"noopener\">Sarah Cole\u003c/a> has drawn attention for her \u003ca href=\"http://www.huffingtonpost.com/entry/sarah-sole-hillary-clinton-paintings_us_564130dfe4b0411d30724467\" target=\"_blank\" rel=\"noopener\">portrayal of Hillary Clinton naked\u003c/a>, \u003ca href=\"http://sarah-sole.com/images/Paintings/MyPrivateHillary_AcrylicOnCanvas_72x48_2015_Sarah_Sole.jpg\" target=\"_blank\" rel=\"noopener\">holding a wine bottle\u003c/a>. But in Cole’s case, she actually considers herself a fan of Clinton.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>When 27-year-old artist Antonio Ramos was shot and killed last fall while painting a mural under a highway overpass in West Oakland, the story of his death captured national and international headlines.\u003c/p>\n\u003cp>But very little was reported about Ramos, the self-taught artist whose passion for social justice and illustrating the stories of indigenous people was recognized by those who knew him best. (Ramos himself had roots in Mexico and in Puerto Rico’s Taíno tribe.)\u003c/p>\n\u003cp>[contextly_sidebar id=”dXpFdXAocPZRDSePgYFgCUcoogxzPXfm”]\u003c/p>\n\u003cp>I walked through the doors of \u003ca href=\"http://www.ahc-oakland.org\" target=\"_blank\" rel=\"noopener\">Attitudinal Healing Connection \u003c/a>(AHC) one week after the shooting. AHC has worked in West Oakland for more than 25 years and leads the \u003ca href=\"http://www.ahc-oakland.org/oakland-mural-project\" target=\"_blank\" rel=\"noopener\">Oakland Super Heroes Mural Project\u003c/a>, an effort to transform six blighted underpasses into large-scale murals designed by local youth.\u003cb> \u003c/b>Ramos was helping paint one of them when he was gunned down.\u003c/p>\n\u003cp>AHC co-founder Aeeshah Clottey greeted me with warm eyes, open arms, but also had words that stung me for their truth. “Where have you been? We’ve been trying to get media coverage of our efforts for decades. Now with blood in the streets, you’re here.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Then she invited me to sit down.\u003c/p>\n\u003cp>I’ve called Oakland home for most of my adult life, and as a documentary filmmaker who has made films about anti-violence efforts in the Bay Area and as far away as Russia, words like these are important to hear. They cut to the heart of what many people at AHC and throughout Oakland are still feeling about this tragedy nine months later.\u003c/p>\n\u003cp>Within hours of the shooting, reports of yet another killing in Oakland dominated the news cycle. That Ramos died working on a mural about peace and non-violence was not lost on the press. Speculation about the circumstances leading up to the murder abounded. Did the subject matter in the mural provoke the violence? Was the crime an attempted robbery? Next to none of these explanations resonated with the artists working with Ramos that fateful morning, when an armed man took their friend’s life. The truth of their feelings were eclipsed by reports of his violent death and tired narratives of crime-ridden Oakland.\u003c/p>\n\u003cp>“In a situation that was just so senseless, there were news reports connecting what happened to Antonio with how gentrification isn’t making Oakland better,” AHC Executive Director Amana Harris told me. “As if gentrification is what it takes to make a city better. That’s the kind of narrow-mindedness we’re fighting against. We have to be looking at core issues for our people, ways to build better resiliency with our community members.”\u003c/p>\n\u003cp>For Harris, 44, art like the murals project is key to building healthy, resilient communities. The Oakland native has been bringing art classes to the city’s under-resourced schools for decades through AHC’s ArtEsteem program and Self as Superhero curriculum, which encourages students to re-envision themselves as superheroes improving their communities. West Oakland Middle School Students inspired the images Ramos was helping to create when he died.\u003c/p>\n\u003cp>Ramos’ name is back in the news again with \u003ca href=\"http://www.eastbaytimes.com/breaking-news/ci_29983979/oakland-defendant-enters-plea-muralist-slaying\" target=\"_blank\" rel=\"noopener\">developments in the criminal case\u003c/a> and with a lawsuit filed by his family against the U.S. Immigration and Customs Enforcement, owners of the stolen firearm reportedly used in the shooting. Meanwhile, AHC has started up work on a fourth Oakland Super Heroes Mural with students at Hoover Elementary. It will be painted across the street from the wall where Ramos was killed. But that work has disappeared from the public’s eye.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>When I began to capture the completion of the mural last fall in the aftermath of Ramos’ death, I didn’t know where my storytelling would lead. But I knew I wanted to tell a different story than I was seeing displayed in the media, one that better represented Ramos, Oakland, and the role art plays in empowering youth and making our communities stronger. I hope this video offers a glimpse of the creativity and courage, grace and forgiveness that is reflected not only in the life of Antonio Ramos, but in the lives of the artists, friends and family members who carry his spirit forward.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>When 27-year-old artist Antonio Ramos was shot and killed last fall while painting a mural under a highway overpass in West Oakland, the story of his death captured national and international headlines.\u003c/p>\n\u003cp>But very little was reported about Ramos, the self-taught artist whose passion for social justice and illustrating the stories of indigenous people was recognized by those who knew him best. (Ramos himself had roots in Mexico and in Puerto Rico’s Taíno tribe.)\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>I walked through the doors of \u003ca href=\"http://www.ahc-oakland.org\" target=\"_blank\" rel=\"noopener\">Attitudinal Healing Connection \u003c/a>(AHC) one week after the shooting. AHC has worked in West Oakland for more than 25 years and leads the \u003ca href=\"http://www.ahc-oakland.org/oakland-mural-project\" target=\"_blank\" rel=\"noopener\">Oakland Super Heroes Mural Project\u003c/a>, an effort to transform six blighted underpasses into large-scale murals designed by local youth.\u003cb> \u003c/b>Ramos was helping paint one of them when he was gunned down.\u003c/p>\n\u003cp>AHC co-founder Aeeshah Clottey greeted me with warm eyes, open arms, but also had words that stung me for their truth. “Where have you been? We’ve been trying to get media coverage of our efforts for decades. Now with blood in the streets, you’re here.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Then she invited me to sit down.\u003c/p>\n\u003cp>I’ve called Oakland home for most of my adult life, and as a documentary filmmaker who has made films about anti-violence efforts in the Bay Area and as far away as Russia, words like these are important to hear. They cut to the heart of what many people at AHC and throughout Oakland are still feeling about this tragedy nine months later.\u003c/p>\n\u003cp>Within hours of the shooting, reports of yet another killing in Oakland dominated the news cycle. That Ramos died working on a mural about peace and non-violence was not lost on the press. Speculation about the circumstances leading up to the murder abounded. Did the subject matter in the mural provoke the violence? Was the crime an attempted robbery? Next to none of these explanations resonated with the artists working with Ramos that fateful morning, when an armed man took their friend’s life. The truth of their feelings were eclipsed by reports of his violent death and tired narratives of crime-ridden Oakland.\u003c/p>\n\u003cp>“In a situation that was just so senseless, there were news reports connecting what happened to Antonio with how gentrification isn’t making Oakland better,” AHC Executive Director Amana Harris told me. “As if gentrification is what it takes to make a city better. That’s the kind of narrow-mindedness we’re fighting against. We have to be looking at core issues for our people, ways to build better resiliency with our community members.”\u003c/p>\n\u003cp>For Harris, 44, art like the murals project is key to building healthy, resilient communities. The Oakland native has been bringing art classes to the city’s under-resourced schools for decades through AHC’s ArtEsteem program and Self as Superhero curriculum, which encourages students to re-envision themselves as superheroes improving their communities. West Oakland Middle School Students inspired the images Ramos was helping to create when he died.\u003c/p>\n\u003cp>Ramos’ name is back in the news again with \u003ca href=\"http://www.eastbaytimes.com/breaking-news/ci_29983979/oakland-defendant-enters-plea-muralist-slaying\" target=\"_blank\" rel=\"noopener\">developments in the criminal case\u003c/a> and with a lawsuit filed by his family against the U.S. Immigration and Customs Enforcement, owners of the stolen firearm reportedly used in the shooting. Meanwhile, AHC has started up work on a fourth Oakland Super Heroes Mural with students at Hoover Elementary. It will be painted across the street from the wall where Ramos was killed. But that work has disappeared from the public’s eye.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>When I began to capture the completion of the mural last fall in the aftermath of Ramos’ death, I didn’t know where my storytelling would lead. But I knew I wanted to tell a different story than I was seeing displayed in the media, one that better represented Ramos, Oakland, and the role art plays in empowering youth and making our communities stronger. I hope this video offers a glimpse of the creativity and courage, grace and forgiveness that is reflected not only in the life of Antonio Ramos, but in the lives of the artists, friends and family members who carry his spirit forward.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Social media lynch mob or do-gooders done, well, good?\u003c/p>\n\u003cp>That’s for you to decide as we consider the week just had by 20-year-old drummer Leslie Rasmussen of the indie rock band Good English.\u003c/p>\n\u003cp>Rasmussen, who lives in suburban Dayton, Ohio, is a friend since childhood of ex-Stanford University swimmer Brock Turner who was convicted last week of felony sexual assault and attempted rape. The six-month jail sentence of the Olympic hopeful, who agreed to leave the prestigious school rather than face possible expulsion, unleashed a fury.\u003c/p>\n\u003cp>Santa Clara County Judge Aaron Persky cited Turner’s clean criminal record and the impact the conviction will have on his life. The outrage has lasted for days.\u003c/p>\n\u003cp>In the aftermath, a “character statement” Rasmussen wrote in support of 20-year-old Turner was leaked. In it, she blamed campus drinking culture and political correctness for Turner’s inebriated life choices after two bystanders caught him in the act of assaulting a drunken, unconscious woman near some garbage bins.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Said lynch mobbers or do-gooders then took to Twitter, Facebook and other social streams to demand Rasmussen’s band, which includes her two sisters, be dumped from at least four gigs that included some in Brooklyn clubs hosting a small music festival called the Northside Festival.\u003c/p>\n\u003cp>In the aftermath of the aftermath, the music-focused website BrooklynVegan.com reports Rasmussen released a long statement Tuesday explaining the one submitted into the court record in California two months ago, ahead of Turner’s sentencing.\u003c/p>\n\u003cp>While Rasmussen’s home phone rang busy Wednesday, the statement posted by Brooklyn Vegan speaks of her sympathy for the victim in Turner’s case.\u003c/p>\n\u003cp>“Unfortunately, due to the overzealous nature of social media and the lack of confidence and privacy in which my letter to the judge was held, I am now thrust into the public eye to defend my position on this matter in the court of public opinion,” the statement said.\u003c/p>\n\u003cp>It continued: “Now, my choices to defer college to write and play music, to finally introduce 10 years of hard work to a national audience while working consistently and intentionally on my own personal and professional integrity, has led to an uproar of judgment and hatred unleashed on me, my band and my family.”\u003c/p>\n\u003cp>It appears Rasmussen is crying victim. That doesn’t matter to David Kyrejko, co-founder of Industry City Distillery, one of the Brooklyn venues that canceled Good English as soon as the world figured out Rasmussen was in the band and playing there.\u003c/p>\n\u003cp>Industry City and other venues, along with the promoters of Northside Festival and the festival itself, have been dealing with outraged New Yorkers over Rasmussen’s remarks. None immediately returned calls and emails seeking additional comment beyond what they have posted online.\u003c/p>\n\u003cp>Industry City was to host a number of artists, not just Good English, on June 11.\u003c/p>\n\u003cp>“Then this whole situation started to unfold and we immediately contacted the producers of the event and demanded that they be removed from the lineup,” Kyrejko said Wednesday. “We found out through fans. We were made aware of it Tuesday, almost instantaneously. Our response was that Good English was removed from the roster.”\u003c/p>\n\u003cp>Why? And what of Rasmussen’s right to free expression?\u003c/p>\n\u003cp>“It’s pretty simple in my opinion,” Kyrejko added. “The support of rape culture is not tolerated. That’s why we removed them from our roster. I think she can do whatever she wants, but if you’re going to preach that, you’re not welcome in our venue. The show will go on. It’s going to be a great show.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Copyright 2016 The Associated Press. All rights reserved.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Said lynch mobbers or do-gooders then took to Twitter, Facebook and other social streams to demand Rasmussen’s band, which includes her two sisters, be dumped from at least four gigs that included some in Brooklyn clubs hosting a small music festival called the Northside Festival.\u003c/p>\n\u003cp>In the aftermath of the aftermath, the music-focused website BrooklynVegan.com reports Rasmussen released a long statement Tuesday explaining the one submitted into the court record in California two months ago, ahead of Turner’s sentencing.\u003c/p>\n\u003cp>While Rasmussen’s home phone rang busy Wednesday, the statement posted by Brooklyn Vegan speaks of her sympathy for the victim in Turner’s case.\u003c/p>\n\u003cp>“Unfortunately, due to the overzealous nature of social media and the lack of confidence and privacy in which my letter to the judge was held, I am now thrust into the public eye to defend my position on this matter in the court of public opinion,” the statement said.\u003c/p>\n\u003cp>It continued: “Now, my choices to defer college to write and play music, to finally introduce 10 years of hard work to a national audience while working consistently and intentionally on my own personal and professional integrity, has led to an uproar of judgment and hatred unleashed on me, my band and my family.”\u003c/p>\n\u003cp>It appears Rasmussen is crying victim. That doesn’t matter to David Kyrejko, co-founder of Industry City Distillery, one of the Brooklyn venues that canceled Good English as soon as the world figured out Rasmussen was in the band and playing there.\u003c/p>\n\u003cp>Industry City and other venues, along with the promoters of Northside Festival and the festival itself, have been dealing with outraged New Yorkers over Rasmussen’s remarks. None immediately returned calls and emails seeking additional comment beyond what they have posted online.\u003c/p>\n\u003cp>Industry City was to host a number of artists, not just Good English, on June 11.\u003c/p>\n\u003cp>“Then this whole situation started to unfold and we immediately contacted the producers of the event and demanded that they be removed from the lineup,” Kyrejko said Wednesday. “We found out through fans. We were made aware of it Tuesday, almost instantaneously. Our response was that Good English was removed from the roster.”\u003c/p>\n\u003cp>Why? And what of Rasmussen’s right to free expression?\u003c/p>\n\u003cp>“It’s pretty simple in my opinion,” Kyrejko added. “The support of rape culture is not tolerated. That’s why we removed them from our roster. I think she can do whatever she wants, but if you’re going to preach that, you’re not welcome in our venue. The show will go on. It’s going to be a great show.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Copyright 2016 The Associated Press. All rights reserved.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Where do you draw the line between inspiration and straight-up imitation when it comes to food?\u003c/p>\n\u003cp>A few years ago, we brought you the \u003ca href=\"http://www.npr.org/sections/thesalt/2013/04/15/177317449/modern-art-desserts-how-to-bake-a-mondrian-in-your-oven\" target=\"_blank\">story\u003c/a> of Caitlin Freeman, a pastry chef baking innovative, art-inspired cakes at the San Francisco Museum of Modern Art. Using modern art as her muse, Freeman translated what she saw in the museum into edible form at the SFMOMA's upstairs café.\u003c/p>\n\u003cfigure id=\"attachment_109974\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003cimg src=\"http://ww2.kqed.org/bayareabites/wp-content/uploads/sites/24/2016/06/sfmoma1.jpg\" alt=\"Caitlin Freeman's Oculus cake, which she and her team first created for a museum event several years ago.\" width=\"400\" height=\"601\" class=\"size-full wp-image-109974\">\u003cfigcaption class=\"wp-caption-text\">Caitlin Freeman's Oculus cake, which she and her team first created for a museum event several years ago. \u003ccite>(Clay McLachlan/Modern Art Desserts)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Her creations eventually filled a cookbook, \u003cem>Modern Art Desserts\u003c/em>, and her most well-known dish, a cake composed of small, primary-colored blocks delicately cemented together with chocolate icing, graced its cover. Inspired by the geometric art of Piet Mondrian, it brought both Freeman and the café fame – and inspired many a home cook to tackle this masterpiece at home.\u003c/p>\n\u003cp>The museum closed for renovations in 2013. When it re-opened last month, the upstairs café was under new management, with a new baking team – but the art-themed desserts for sale looked suspiciously familiar to Freeman. Call it a case of copycake.\u003c/p>\n\u003cp>Blue Bottle, the coffeehouse chain owned by Freeman's husband, James Freeman, used to run the SFMOMA's upstairs café, but it failed to win its bid to return after the renovations. Freeman was disappointed, but, as a lifelong art lover, she nonetheless felt compelled to take her infant daughter to check out the refurbished museum. She even stopped for a few moments to take in the scene at the new café, now run by a catering company that had previously operated the museum's downstairs café.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>That's when three \"art-inspired\" desserts the café was serving caught her eye.\u003c/p>\n\u003cp>\"I saw the Ellsworth Kelly cake, and I was like, wait a second,\" she tells NPR. That cake, according to the menu, is inspired by Kelly's painting \u003cem>Gaza\u003c/em>, and features cream mousses and sponge cake. Another, called \u003ca href=\"http://www.latimes.com/entertainment/arts/la-et-cm-warhol-trip-sfmoma-20160606-snap-htmlstory.html\" target=\"_blank\">Andy Warhol's Triple Elvis\u003c/a>, is peanut butter cream, honey and banana cake. Finally, the Oculus, a sculptural nod to the museum's architectural turret, is cream-filled sponge cake with chocolate mousse and a white chocolate disc. That dish is strikingly\u003cstrong> \u003c/strong>\u003ca href=\"http://www.modernartdesserts.com/\" target=\"_blank\">similar in both spirit and design\u003c/a> to a dessert that Freeman and her team created several years ago for a museum event.\u003c/p>\n\u003cp>\"It stings because I felt like I was doing something for beauty and for love,\" she says. \"I'm just so bummed that the SFMOMA didn't want me and my future inspiration back.\"\u003c/p>\n\u003cp>Freeman's path to baking actually traces right back the museum. It's where, as an art student, she discovered \u003ca href=\"http://www.sfmoma.org/explore/collection/artwork/65\" target=\"_blank\">Display Cakes\u003c/a>,\u003cstrong> \u003c/strong>Wayne Thiebaud's 1963 painting of frosted confections, which inspired her to pursue a career as a pastry chef. The stable of modern art desserts\u003cstrong> \u003c/strong>(and some savory items) that\u003cstrong> \u003c/strong>she and her small team made at the SFMOMA evolved organically after Blue Bottle began operating the café in 2009.\u003c/p>\n\u003cp>\"This was entirely new to me,\" she says. \"I had never heard of somebody making art desserts. I wasn't like, 'Here's a chance to do that thing I heard about.' It just came because I was where I first found my Wayne Thiebold cake, and that inspired me to be a baker.\"\u003c/p>\n\u003cp>But the museum says art as a muse for food is not a concept that belongs to Freeman. Neither the SFMOMA nor the new caterer responded to interview requests, but, in a statement, the museum said:\u003c/p>\n\u003cblockquote>\n\u003cp>\"SFMOMA is highly respectful of the expression of our partners and their desire to draw inspiration from the museum's architecture and art collection to create new work across all media, including food. Our art-inspired desserts continue a long tradition of art-inspired food served at SFMOMA and at museums and cultural institutions all over the world. We were pleased that Caitlin Freeman was a part of that legacy and are very grateful and respectful of her contributions.\"\u003c/p>\n\u003c/blockquote>\n\u003cp>In the art world as in the food world, creators are constantly finding inspiration in — and riffing off — each other's work. But food is a difficult medium to copyright, so some chefs give credit on the menu if a dish was inspired by another chef.\u003c/p>\n\u003cp>\"Recipes are not copyrightable, nor are methods of cooking, and ideas are never copyrightable. So the idea of making desserts inspired by artworks could not be copyrighted,\" says intellectual property \u003ca href=\"http://www.eater.com/2012/12/11/6509773/intellectual-property-lawyer-naomi-straus-on-how-chefs-can-protect\" target=\"_blank\">attorney Naomi Beckman-Straus\u003c/a> with the firm Mitchell Silberberg & Knupp in Los Angeles.\u003c/p>\n\u003cfigure id=\"attachment_109965\" class=\"wp-caption aligncenter\" style=\"max-width: 2250px\">\u003cimg src=\"http://ww2.kqed.org/bayareabites/wp-content/uploads/sites/24/2016/06/mondrian_dessertart21_custom-38d819c895f6a1a7d126a57ca11eebbca9aabf48.jpg\" alt=\"Left: One of Piet Mondrian's grid-like color block compositions. Right: Caitlin Freeman's cake homage.\" width=\"2250\" height=\"1498\" class=\"size-full wp-image-109965\" srcset=\"https://ww2.kqed.org/app/uploads/sites/24/2016/06/mondrian_dessertart21_custom-38d819c895f6a1a7d126a57ca11eebbca9aabf48.jpg 2250w, https://ww2.kqed.org/app/uploads/sites/24/2016/06/mondrian_dessertart21_custom-38d819c895f6a1a7d126a57ca11eebbca9aabf48-400x266.jpg 400w, https://ww2.kqed.org/app/uploads/sites/24/2016/06/mondrian_dessertart21_custom-38d819c895f6a1a7d126a57ca11eebbca9aabf48-800x533.jpg 800w, https://ww2.kqed.org/app/uploads/sites/24/2016/06/mondrian_dessertart21_custom-38d819c895f6a1a7d126a57ca11eebbca9aabf48-768x511.jpg 768w, https://ww2.kqed.org/app/uploads/sites/24/2016/06/mondrian_dessertart21_custom-38d819c895f6a1a7d126a57ca11eebbca9aabf48-1440x959.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/24/2016/06/mondrian_dessertart21_custom-38d819c895f6a1a7d126a57ca11eebbca9aabf48-1180x786.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/24/2016/06/mondrian_dessertart21_custom-38d819c895f6a1a7d126a57ca11eebbca9aabf48-960x639.jpg 960w\" sizes=\"(max-width: 2250px) 100vw, 2250px\">\u003cfigcaption class=\"wp-caption-text\">Left: One of Piet Mondrian's grid-like color block compositions. Right: Caitlin Freeman's cake homage. \u003ccite>(Mondrian/Holtzman Trust; Clay McLachlan/Ten Speed Press)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_109975\" class=\"wp-caption aligncenter\" style=\"max-width: 996px\">\u003cimg src=\"http://ww2.kqed.org/bayareabites/wp-content/uploads/sites/24/2016/06/Screen-shot-2016-06-08-at-12.33.49-PM.png\" alt=\"John Zurier's minimalist painting Arabella inspired these simple strawberry and mint popsicles.\" width=\"996\" height=\"660\" class=\"size-full wp-image-109975\" srcset=\"https://ww2.kqed.org/app/uploads/sites/24/2016/06/Screen-shot-2016-06-08-at-12.33.49-PM.png 996w, https://ww2.kqed.org/app/uploads/sites/24/2016/06/Screen-shot-2016-06-08-at-12.33.49-PM-400x265.png 400w, https://ww2.kqed.org/app/uploads/sites/24/2016/06/Screen-shot-2016-06-08-at-12.33.49-PM-800x530.png 800w, https://ww2.kqed.org/app/uploads/sites/24/2016/06/Screen-shot-2016-06-08-at-12.33.49-PM-768x509.png 768w, https://ww2.kqed.org/app/uploads/sites/24/2016/06/Screen-shot-2016-06-08-at-12.33.49-PM-960x636.png 960w\" sizes=\"(max-width: 996px) 100vw, 996px\">\u003cfigcaption class=\"wp-caption-text\">John Zurier's minimalist painting Arabella inspired these simple strawberry and mint popsicles. \u003ccite>(John Zurier's minimalist painting Arabella inspired these simple strawberry and mint popsicles. John Zurier; Charles Villyard/Ten Speed Press)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\"However, there is no clear reason why the visual appearance of a dish could not be copyrighted,\" she says. \"Because our legal system works on precedent, a lot of it is just that it's generally accepted that there's no copyright protection for restaurant dishes or food.\"\u003c/p>\n\u003cp>Copyright does not extend to useful articles – the basic, functional objects that people need. Like food, clothing and furniture are also not protected by copyright.\u003c/p>\n\u003cp>But what if, say, the piece of furniture has an artistic element? In a landmark case in 1954, the Supreme Court decided that sculptural, artistic bases on lamps were \"conceptually separate\" from the lamp, and therefore were eligible for copyright protection.\u003c/p>\n\u003cp>\"In theory, that could be done with food, although it hasn't really been,\" Beckman-Straus says.\u003c/p>\n\u003cp>She notes that a case currently before the Supreme Court could potentially pave the way for more people to try to fight for food copyright. The high court has agreed to hear a case involving whether the designs on cheerleading uniforms can be copyrightable.\u003c/p>\n\u003cp>\"It will hopefully [bring] some clarity on when you can separate the artistic expression part from the usefulness,\" Beckman-Straus says. \"If the ruling makes it clearer how you can prove that the visual appearance of something is different from its useful aspects, then it could open the door to more claims based on food.\"\u003c/p>\n\u003cp>In trademark law, a business can protect the overall look and feel of a product if it serves to distinguish the brand. It's called \"trade dress\" and she argues that it could be applied to plating and the way food looks. (She wrote about \u003ca href=\"http://www.uclalawreview.org/trade-dress-protection-for-cuisine-monetizing-creativity-in-a-low-ip-industry/\" target=\"_blank\">trade dress and cuisine in the UCLA Law Review\u003c/a>.)\u003c/p>\n\u003cp>\"If there's a very specific style a chef uses, or a dish that they use to signify 'This is my restaurant,' then in theory, you could try to use trade dress to get that protection,\" Beckman-Straus says.\u003c/p>\n\u003cp>As for Freeman, she says she doesn't plan to pursue legal action. But future visits to the SFMOMA, and it's café, will surely be bittersweet. \u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Copyright 2016 \u003ca href=\"http://www.npr.org/\" target=\"_blank\">NPR\u003c/a>.\u003c/em> \u003c/p>\n\n",
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"excerpt": "Caitlin Freeman made a name for herself selling modern art-inspired pastries at the SFMOMA. The museum's cafe just reopened with a new caterer — whose desserts look suspiciously familiar.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Where do you draw the line between inspiration and straight-up imitation when it comes to food?\u003c/p>\n\u003cp>A few years ago, we brought you the \u003ca href=\"http://www.npr.org/sections/thesalt/2013/04/15/177317449/modern-art-desserts-how-to-bake-a-mondrian-in-your-oven\" target=\"_blank\">story\u003c/a> of Caitlin Freeman, a pastry chef baking innovative, art-inspired cakes at the San Francisco Museum of Modern Art. Using modern art as her muse, Freeman translated what she saw in the museum into edible form at the SFMOMA's upstairs café.\u003c/p>\n\u003cfigure id=\"attachment_109974\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003cimg src=\"http://ww2.kqed.org/bayareabites/wp-content/uploads/sites/24/2016/06/sfmoma1.jpg\" alt=\"Caitlin Freeman's Oculus cake, which she and her team first created for a museum event several years ago.\" width=\"400\" height=\"601\" class=\"size-full wp-image-109974\">\u003cfigcaption class=\"wp-caption-text\">Caitlin Freeman's Oculus cake, which she and her team first created for a museum event several years ago. \u003ccite>(Clay McLachlan/Modern Art Desserts)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Her creations eventually filled a cookbook, \u003cem>Modern Art Desserts\u003c/em>, and her most well-known dish, a cake composed of small, primary-colored blocks delicately cemented together with chocolate icing, graced its cover. Inspired by the geometric art of Piet Mondrian, it brought both Freeman and the café fame – and inspired many a home cook to tackle this masterpiece at home.\u003c/p>\n\u003cp>The museum closed for renovations in 2013. When it re-opened last month, the upstairs café was under new management, with a new baking team – but the art-themed desserts for sale looked suspiciously familiar to Freeman. Call it a case of copycake.\u003c/p>\n\u003cp>Blue Bottle, the coffeehouse chain owned by Freeman's husband, James Freeman, used to run the SFMOMA's upstairs café, but it failed to win its bid to return after the renovations. Freeman was disappointed, but, as a lifelong art lover, she nonetheless felt compelled to take her infant daughter to check out the refurbished museum. She even stopped for a few moments to take in the scene at the new café, now run by a catering company that had previously operated the museum's downstairs café.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>That's when three \"art-inspired\" desserts the café was serving caught her eye.\u003c/p>\n\u003cp>\"I saw the Ellsworth Kelly cake, and I was like, wait a second,\" she tells NPR. That cake, according to the menu, is inspired by Kelly's painting \u003cem>Gaza\u003c/em>, and features cream mousses and sponge cake. Another, called \u003ca href=\"http://www.latimes.com/entertainment/arts/la-et-cm-warhol-trip-sfmoma-20160606-snap-htmlstory.html\" target=\"_blank\">Andy Warhol's Triple Elvis\u003c/a>, is peanut butter cream, honey and banana cake. Finally, the Oculus, a sculptural nod to the museum's architectural turret, is cream-filled sponge cake with chocolate mousse and a white chocolate disc. That dish is strikingly\u003cstrong> \u003c/strong>\u003ca href=\"http://www.modernartdesserts.com/\" target=\"_blank\">similar in both spirit and design\u003c/a> to a dessert that Freeman and her team created several years ago for a museum event.\u003c/p>\n\u003cp>\"It stings because I felt like I was doing something for beauty and for love,\" she says. \"I'm just so bummed that the SFMOMA didn't want me and my future inspiration back.\"\u003c/p>\n\u003cp>Freeman's path to baking actually traces right back the museum. It's where, as an art student, she discovered \u003ca href=\"http://www.sfmoma.org/explore/collection/artwork/65\" target=\"_blank\">Display Cakes\u003c/a>,\u003cstrong> \u003c/strong>Wayne Thiebaud's 1963 painting of frosted confections, which inspired her to pursue a career as a pastry chef. The stable of modern art desserts\u003cstrong> \u003c/strong>(and some savory items) that\u003cstrong> \u003c/strong>she and her small team made at the SFMOMA evolved organically after Blue Bottle began operating the café in 2009.\u003c/p>\n\u003cp>\"This was entirely new to me,\" she says. \"I had never heard of somebody making art desserts. I wasn't like, 'Here's a chance to do that thing I heard about.' It just came because I was where I first found my Wayne Thiebold cake, and that inspired me to be a baker.\"\u003c/p>\n\u003cp>But the museum says art as a muse for food is not a concept that belongs to Freeman. Neither the SFMOMA nor the new caterer responded to interview requests, but, in a statement, the museum said:\u003c/p>\n\u003cblockquote>\n\u003cp>\"SFMOMA is highly respectful of the expression of our partners and their desire to draw inspiration from the museum's architecture and art collection to create new work across all media, including food. Our art-inspired desserts continue a long tradition of art-inspired food served at SFMOMA and at museums and cultural institutions all over the world. We were pleased that Caitlin Freeman was a part of that legacy and are very grateful and respectful of her contributions.\"\u003c/p>\n\u003c/blockquote>\n\u003cp>In the art world as in the food world, creators are constantly finding inspiration in — and riffing off — each other's work. But food is a difficult medium to copyright, so some chefs give credit on the menu if a dish was inspired by another chef.\u003c/p>\n\u003cp>\"Recipes are not copyrightable, nor are methods of cooking, and ideas are never copyrightable. So the idea of making desserts inspired by artworks could not be copyrighted,\" says intellectual property \u003ca href=\"http://www.eater.com/2012/12/11/6509773/intellectual-property-lawyer-naomi-straus-on-how-chefs-can-protect\" target=\"_blank\">attorney Naomi Beckman-Straus\u003c/a> with the firm Mitchell Silberberg & Knupp in Los Angeles.\u003c/p>\n\u003cfigure id=\"attachment_109965\" class=\"wp-caption aligncenter\" style=\"max-width: 2250px\">\u003cimg src=\"http://ww2.kqed.org/bayareabites/wp-content/uploads/sites/24/2016/06/mondrian_dessertart21_custom-38d819c895f6a1a7d126a57ca11eebbca9aabf48.jpg\" alt=\"Left: One of Piet Mondrian's grid-like color block compositions. Right: Caitlin Freeman's cake homage.\" width=\"2250\" height=\"1498\" class=\"size-full wp-image-109965\" srcset=\"https://ww2.kqed.org/app/uploads/sites/24/2016/06/mondrian_dessertart21_custom-38d819c895f6a1a7d126a57ca11eebbca9aabf48.jpg 2250w, https://ww2.kqed.org/app/uploads/sites/24/2016/06/mondrian_dessertart21_custom-38d819c895f6a1a7d126a57ca11eebbca9aabf48-400x266.jpg 400w, https://ww2.kqed.org/app/uploads/sites/24/2016/06/mondrian_dessertart21_custom-38d819c895f6a1a7d126a57ca11eebbca9aabf48-800x533.jpg 800w, https://ww2.kqed.org/app/uploads/sites/24/2016/06/mondrian_dessertart21_custom-38d819c895f6a1a7d126a57ca11eebbca9aabf48-768x511.jpg 768w, https://ww2.kqed.org/app/uploads/sites/24/2016/06/mondrian_dessertart21_custom-38d819c895f6a1a7d126a57ca11eebbca9aabf48-1440x959.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/24/2016/06/mondrian_dessertart21_custom-38d819c895f6a1a7d126a57ca11eebbca9aabf48-1180x786.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/24/2016/06/mondrian_dessertart21_custom-38d819c895f6a1a7d126a57ca11eebbca9aabf48-960x639.jpg 960w\" sizes=\"(max-width: 2250px) 100vw, 2250px\">\u003cfigcaption class=\"wp-caption-text\">Left: One of Piet Mondrian's grid-like color block compositions. Right: Caitlin Freeman's cake homage. \u003ccite>(Mondrian/Holtzman Trust; Clay McLachlan/Ten Speed Press)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_109975\" class=\"wp-caption aligncenter\" style=\"max-width: 996px\">\u003cimg src=\"http://ww2.kqed.org/bayareabites/wp-content/uploads/sites/24/2016/06/Screen-shot-2016-06-08-at-12.33.49-PM.png\" alt=\"John Zurier's minimalist painting Arabella inspired these simple strawberry and mint popsicles.\" width=\"996\" height=\"660\" class=\"size-full wp-image-109975\" srcset=\"https://ww2.kqed.org/app/uploads/sites/24/2016/06/Screen-shot-2016-06-08-at-12.33.49-PM.png 996w, https://ww2.kqed.org/app/uploads/sites/24/2016/06/Screen-shot-2016-06-08-at-12.33.49-PM-400x265.png 400w, https://ww2.kqed.org/app/uploads/sites/24/2016/06/Screen-shot-2016-06-08-at-12.33.49-PM-800x530.png 800w, https://ww2.kqed.org/app/uploads/sites/24/2016/06/Screen-shot-2016-06-08-at-12.33.49-PM-768x509.png 768w, https://ww2.kqed.org/app/uploads/sites/24/2016/06/Screen-shot-2016-06-08-at-12.33.49-PM-960x636.png 960w\" sizes=\"(max-width: 996px) 100vw, 996px\">\u003cfigcaption class=\"wp-caption-text\">John Zurier's minimalist painting Arabella inspired these simple strawberry and mint popsicles. \u003ccite>(John Zurier's minimalist painting Arabella inspired these simple strawberry and mint popsicles. John Zurier; Charles Villyard/Ten Speed Press)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\"However, there is no clear reason why the visual appearance of a dish could not be copyrighted,\" she says. \"Because our legal system works on precedent, a lot of it is just that it's generally accepted that there's no copyright protection for restaurant dishes or food.\"\u003c/p>\n\u003cp>Copyright does not extend to useful articles – the basic, functional objects that people need. Like food, clothing and furniture are also not protected by copyright.\u003c/p>\n\u003cp>But what if, say, the piece of furniture has an artistic element? In a landmark case in 1954, the Supreme Court decided that sculptural, artistic bases on lamps were \"conceptually separate\" from the lamp, and therefore were eligible for copyright protection.\u003c/p>\n\u003cp>\"In theory, that could be done with food, although it hasn't really been,\" Beckman-Straus says.\u003c/p>\n\u003cp>She notes that a case currently before the Supreme Court could potentially pave the way for more people to try to fight for food copyright. The high court has agreed to hear a case involving whether the designs on cheerleading uniforms can be copyrightable.\u003c/p>\n\u003cp>\"It will hopefully [bring] some clarity on when you can separate the artistic expression part from the usefulness,\" Beckman-Straus says. \"If the ruling makes it clearer how you can prove that the visual appearance of something is different from its useful aspects, then it could open the door to more claims based on food.\"\u003c/p>\n\u003cp>In trademark law, a business can protect the overall look and feel of a product if it serves to distinguish the brand. It's called \"trade dress\" and she argues that it could be applied to plating and the way food looks. (She wrote about \u003ca href=\"http://www.uclalawreview.org/trade-dress-protection-for-cuisine-monetizing-creativity-in-a-low-ip-industry/\" target=\"_blank\">trade dress and cuisine in the UCLA Law Review\u003c/a>.)\u003c/p>\n\u003cp>\"If there's a very specific style a chef uses, or a dish that they use to signify 'This is my restaurant,' then in theory, you could try to use trade dress to get that protection,\" Beckman-Straus says.\u003c/p>\n\u003cp>As for Freeman, she says she doesn't plan to pursue legal action. But future visits to the SFMOMA, and it's café, will surely be bittersweet. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Stuff just happens, sometimes, even to an \u003ca href=\"http://www.christies.com/lotfinder/paintings/andy-warhol-triple-elvis-ferus-type-5846064-details.aspx\" target=\"_blank\" rel=\"noopener\">Andy Warhol silkscreen worth an estimated $82 million\u003c/a>, and under constant surveillance.\u003c/p>\n\u003cp>According to \u003ca href=\"http://kron4.com/2016/06/03/sfmoma-visitor-trips-damaging-andy-warhols-triple-elvis-painting/\" target=\"_blank\" rel=\"noopener\">KRON 4\u003c/a>, a visitor to the \u003ca href=\"http://www.sfmoma.org\" target=\"_blank\" rel=\"noopener\">San Francisco Museum of Modern Art \u003c/a>(SFMOMA) reportedly tripped last week and bumped into “Triple Elvis” causing minor damage to the iconic work. The piece is part of the \u003ca href=\"https://www.sfmoma.org/artists-artworks/fisher-collection/\" target=\"_blank\" rel=\"noopener\">Fisher Collection\u003c/a>, the backbone art collection of the recently reopened museum. The TV station says the painting was removed from the gallery, and taken to the \u003ca href=\"https://www.sfmoma.org/artists-artworks/research/conservation/\" target=\"_blank\" rel=\"noopener\">museum’s conservation studio\u003c/a> for evaluation.\u003c/p>\n\u003cp>The large silkscreen, in ink and silver paint on a linen canvas from 1963, shows three identical overlapping images of Elvis Presley dressed as a cowboy, his pistol out of the holster and pointing at the viewer, in a scene from \u003ca href=\"http://www.imdb.com/title/tt0053825/\" target=\"_blank\" rel=\"noopener\">\u003cem>Flaming Star\u003c/em>\u003c/a>, a Hollywood western. The work sold at a \u003ca href=\"http://www.christies.com/lotfinder/paintings/andy-warhol-triple-elvis-ferus-type-5846064-details.aspx\" target=\"_blank\" rel=\"noopener\">Christie’s auction in 2014 for $81.9 million\u003c/a>.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=JKxlRpw1_SA\u003c/p>\n\u003cp>SFMOMA is keeping quiet about the incident. The museum’s communications director, Jill Lynch, replied to a request for comment with this email: “We’re not doing interviews on this.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>Prevention is key\u003c/strong>\u003c/p>\n\u003cp>But museums, including SFMOMA, work very hard to prevent accidents like this or acts of vandalism from happening.\u003c/p>\n\u003cp>Susan Klein, director of marketing at the \u003ca href=\"https://www.famsf.org/\" target=\"_blank\" rel=\"noopener\">Fine Arts Museums of San Francisco\u003c/a>, says she grimaced in sympathy when she read about the incident. She says the best tools for preventing such accidents are metering tickets and other techniques that keep galleries from getting too crowded. “So that people don’t accidentally trip over things or bump into each other or the art,” Klein says.\u003c/p>\n\u003cp>Klein also says guards should remind visitors to keep their distance from the art, and their backpacks in front or to the side of their bodies, to avoid inadvertently back into a painting or installation.\u003c/p>\n\u003cp>Many museums, Klein says, do bag searches, to keep potential vandals from bringing in knives or spray paint. But these aren’t the only cause for concern. “You can do pretty bad vandalism with pens,” Klein says.\u003c/p>\n\u003cp>Still, Klein says museums don’t want to put their art behind glass, which creates glare and distances the visitor from the work. So when the precautions fail, museums are ready.\u003c/p>\n\u003cp>\u003cstrong>How SFMOMA’s Warhol might be fixed\u003c/strong>\u003c/p>\n\u003cp>Sy Sajid, an art restorer in San Francisco who calls his business \u003ca href=\"http://www.sysphere.com/about.html\" target=\"_blank\" rel=\"noopener\">SYSPHERE Conservation\u003c/a>, once fixed a silkscreen on paper of Mick Jagger by Warhol for a private owner. “The restoration work would involve correcting and over-painting the damaged areas in silkscreen inks,” Sajid says of the likely process involved in restoring the damage done to “Triple Elvis.” Sajid says it might also be possible to over-paint a simple scuff mark with a brush. “Or perhaps you create a silkscreen just for that area and then silkscreen it just the way it was,” Sajid says.\u003c/p>\n\u003cp>Fine art Restoration is such an advanced field that even a tear in a linen canvas can be repaired, Sajid says, recalling an incident from 2006 when \u003ca href=\"http://www.newyorker.com/magazine/2006/10/23/the-40-million-elbow\" target=\"_blank\" rel=\"noopener\">Las Vegas casino owner Steve Wynn punctured a Picasso\u003c/a> he owned. Wynn was about to offload the damaged work for $139 million. But instead, he canceled the sale and a restorer fixed the painting.\u003c/p>\n\u003cfigure id=\"attachment_11657697\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11657697 size-large\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/La-Reve-by-Picasso-951x1180.jpg\" alt=\"La Reve by Picasso \" width=\"640\" height=\"794\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/La-Reve-by-Picasso-951x1180.jpg 951w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/La-Reve-by-Picasso-400x496.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/La-Reve-by-Picasso-483x600.jpg 483w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/La-Reve-by-Picasso-768x953.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/La-Reve-by-Picasso-1180x1464.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/La-Reve-by-Picasso-960x1191.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/La-Reve-by-Picasso.jpg 1560w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">‘La Reve’ by Picasso\u003c/figcaption>\u003c/figure>\n\u003cp>Sajid says SFMOMA’s conservation and restoration department is certainly well equipped to fix “Triple Elvis.” “This is why they’re being so secretive about it,” he says. “Because they’re going to take care of it and no one will know about the damage.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Obviously the story about the damage to the Warhol has gotten out. But at least SFMOMA isn’t facing the same problem as a museum Klein brought up but wouldn’t name. “Someone actually kissed a painting and left lipstick on it,” Klein says about the incident. “What are you going to do about that?”\u003c/p>\n\n",
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"excerpt": "In the wake of media reports about the San Francisco Museum of Modern Art visitor who accidentally damaged Andy Warhol's “Triple Elvis”, we examine how museums typically deal with these incidents.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Stuff just happens, sometimes, even to an \u003ca href=\"http://www.christies.com/lotfinder/paintings/andy-warhol-triple-elvis-ferus-type-5846064-details.aspx\" target=\"_blank\" rel=\"noopener\">Andy Warhol silkscreen worth an estimated $82 million\u003c/a>, and under constant surveillance.\u003c/p>\n\u003cp>According to \u003ca href=\"http://kron4.com/2016/06/03/sfmoma-visitor-trips-damaging-andy-warhols-triple-elvis-painting/\" target=\"_blank\" rel=\"noopener\">KRON 4\u003c/a>, a visitor to the \u003ca href=\"http://www.sfmoma.org\" target=\"_blank\" rel=\"noopener\">San Francisco Museum of Modern Art \u003c/a>(SFMOMA) reportedly tripped last week and bumped into “Triple Elvis” causing minor damage to the iconic work. The piece is part of the \u003ca href=\"https://www.sfmoma.org/artists-artworks/fisher-collection/\" target=\"_blank\" rel=\"noopener\">Fisher Collection\u003c/a>, the backbone art collection of the recently reopened museum. The TV station says the painting was removed from the gallery, and taken to the \u003ca href=\"https://www.sfmoma.org/artists-artworks/research/conservation/\" target=\"_blank\" rel=\"noopener\">museum’s conservation studio\u003c/a> for evaluation.\u003c/p>\n\u003cp>The large silkscreen, in ink and silver paint on a linen canvas from 1963, shows three identical overlapping images of Elvis Presley dressed as a cowboy, his pistol out of the holster and pointing at the viewer, in a scene from \u003ca href=\"http://www.imdb.com/title/tt0053825/\" target=\"_blank\" rel=\"noopener\">\u003cem>Flaming Star\u003c/em>\u003c/a>, a Hollywood western. The work sold at a \u003ca href=\"http://www.christies.com/lotfinder/paintings/andy-warhol-triple-elvis-ferus-type-5846064-details.aspx\" target=\"_blank\" rel=\"noopener\">Christie’s auction in 2014 for $81.9 million\u003c/a>.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/JKxlRpw1_SA'\n title='//www.youtube.com/embed/JKxlRpw1_SA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>SFMOMA is keeping quiet about the incident. The museum’s communications director, Jill Lynch, replied to a request for comment with this email: “We’re not doing interviews on this.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Prevention is key\u003c/strong>\u003c/p>\n\u003cp>But museums, including SFMOMA, work very hard to prevent accidents like this or acts of vandalism from happening.\u003c/p>\n\u003cp>Susan Klein, director of marketing at the \u003ca href=\"https://www.famsf.org/\" target=\"_blank\" rel=\"noopener\">Fine Arts Museums of San Francisco\u003c/a>, says she grimaced in sympathy when she read about the incident. She says the best tools for preventing such accidents are metering tickets and other techniques that keep galleries from getting too crowded. “So that people don’t accidentally trip over things or bump into each other or the art,” Klein says.\u003c/p>\n\u003cp>Klein also says guards should remind visitors to keep their distance from the art, and their backpacks in front or to the side of their bodies, to avoid inadvertently back into a painting or installation.\u003c/p>\n\u003cp>Many museums, Klein says, do bag searches, to keep potential vandals from bringing in knives or spray paint. But these aren’t the only cause for concern. “You can do pretty bad vandalism with pens,” Klein says.\u003c/p>\n\u003cp>Still, Klein says museums don’t want to put their art behind glass, which creates glare and distances the visitor from the work. So when the precautions fail, museums are ready.\u003c/p>\n\u003cp>\u003cstrong>How SFMOMA’s Warhol might be fixed\u003c/strong>\u003c/p>\n\u003cp>Sy Sajid, an art restorer in San Francisco who calls his business \u003ca href=\"http://www.sysphere.com/about.html\" target=\"_blank\" rel=\"noopener\">SYSPHERE Conservation\u003c/a>, once fixed a silkscreen on paper of Mick Jagger by Warhol for a private owner. “The restoration work would involve correcting and over-painting the damaged areas in silkscreen inks,” Sajid says of the likely process involved in restoring the damage done to “Triple Elvis.” Sajid says it might also be possible to over-paint a simple scuff mark with a brush. “Or perhaps you create a silkscreen just for that area and then silkscreen it just the way it was,” Sajid says.\u003c/p>\n\u003cp>Fine art Restoration is such an advanced field that even a tear in a linen canvas can be repaired, Sajid says, recalling an incident from 2006 when \u003ca href=\"http://www.newyorker.com/magazine/2006/10/23/the-40-million-elbow\" target=\"_blank\" rel=\"noopener\">Las Vegas casino owner Steve Wynn punctured a Picasso\u003c/a> he owned. Wynn was about to offload the damaged work for $139 million. But instead, he canceled the sale and a restorer fixed the painting.\u003c/p>\n\u003cfigure id=\"attachment_11657697\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11657697 size-large\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/La-Reve-by-Picasso-951x1180.jpg\" alt=\"La Reve by Picasso \" width=\"640\" height=\"794\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/La-Reve-by-Picasso-951x1180.jpg 951w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/La-Reve-by-Picasso-400x496.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/La-Reve-by-Picasso-483x600.jpg 483w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/La-Reve-by-Picasso-768x953.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/La-Reve-by-Picasso-1180x1464.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/La-Reve-by-Picasso-960x1191.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/La-Reve-by-Picasso.jpg 1560w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">‘La Reve’ by Picasso\u003c/figcaption>\u003c/figure>\n\u003cp>Sajid says SFMOMA’s conservation and restoration department is certainly well equipped to fix “Triple Elvis.” “This is why they’re being so secretive about it,” he says. “Because they’re going to take care of it and no one will know about the damage.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Obviously the story about the damage to the Warhol has gotten out. But at least SFMOMA isn’t facing the same problem as a museum Klein brought up but wouldn’t name. “Someone actually kissed a painting and left lipstick on it,” Klein says about the incident. “What are you going to do about that?”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Between December and March, beekeepers send millions of hives to California to pollinate almond trees. Not all of the hives make it back home.\u003c/p>\n\u003cp>\"The number of beehive thefts is increasing,\" explains Jay Freeman, a detective with the Butte County Sheriff's Office.\u003c/p>\n\u003cp>In California, 1,734 hives were stolen during peak almond pollination season in 2016. In Butte County alone, the number of stolen hives jumped from 200 in 2015 to 400 this year, according to Freeman.\u003c/p>\n\u003cp>Denise Qualls, a California bee broker who arranges contracts between beekeepers and almond growers, isn't surprised that beehive thefts are on the rise.\u003c/p>\n\u003cp>It takes more than 2 million beehives to pollinate California almonds. Currently, beekeepers are paid $200 per hive for pollination services (compared with $130 per hive in 2010).\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>To complicate matters, bee brokers who arrange contracts between beekeepers and almond growers are discovering that there are not enough beehives to go around, driving up demand, rental costs — and thefts.\u003c/p>\n\u003cp>Because of the expertise required to steal hives, the general consensus is that beekeepers are behind the heists.\u003c/p>\n\u003cp>\"Beekeepers have the knowledge and equipment to go in and take the hives and the market to profit from them,\" Qualls says.\u003c/p>\n\u003cp>Thieves targeting hives to rent during pollination season are not making off with one or two hives. In Butte County, several large-scale hive thefts occurred this year, with reports ranging from 64 to 200 hives swiped at a time.\u003c/p>\n\u003cp>\"Almond orchards are in rural areas with acres of trees, few homesteads and almost no surveillance,\" says Qualls, president and CEO of Pollination Connection. \"It's hard to monitor the hives.\"\u003c/p>\n\u003cp>Most hives are unmarked, making it impossible to identify hives that might be stolen. Beekeepers who do brand each of their hives with the names and numbers of their apiaries often fall victim to creative thieves who remove the frames (the guts of the hive that are covered with bees and laden with honey) and put them in new, unmarked hive bodies.\u003c/p>\n\u003cp>\"Thieves are going after easily accessible hives and unmarked hives,\" says Freeman. \"Someone who knows how to handle them can move 200 hives in a matter of minutes.\"\u003c/p>\n\u003cp>Because stolen hives are hard to detect, it's difficult for law enforcement to catch and prosecute thieves and return hives to beekeepers. When thieves are caught, the penalties are harsh.\u003c/p>\n\u003cp>Last week, a beekeeper stood trial for the theft of 64 hives that he pilfered from Butte County and rented to an almond grower (through a bee broker) in a neighboring county. At the trial for the February crime, he was convicted of grand theft of an animal — a felony in California — and sentenced to 90 days in county jail and three years' probation.\u003c/p>\n\u003cp>Insurance policies are cost prohibitive, according to Freeman, and few beekeepers are reimbursed for their losses. To combat bee theft, some beekeepers are putting GPS units in their hives. And some growers are hiring guards to patrol almond orchards overnight.\u003c/p>\n\u003cp>\"For the growers, this is their entire livelihood,\" Qualls says. \"If someone steals their bees, it hurts their crops.\"\u003c/p>\n\u003cp>It's not just large-scale apiaries and California almond growers feeling the sting.\u003c/p>\n\u003cp>In April, 184 hives valued at CA$200,000 were stolen in Quebec. Three hives were pinched from the garden at a dental office in Greenville, S.C., in February. 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When news of the stolen hives hit the local media, three more Iowa beekeepers came forward with similar reports.\u003c/p>\n\u003cp>Taylor hopes the surveillance footage will help local law enforcement catch the thieves and recover the stolen hives. In the meantime, he's branded the 17 additional hives he maintains in locations throughout Des Moines and installed GPS tracking systems in each one in case his hives are targeted again.\u003c/p>\n\u003cp>\"Who would have thought in the 21st century we'd have to worry about bee rustlers?\" he ponders.\u003c/p>\n\u003chr>\n\u003cp>\u003cem>Jodi Helmer is a North Carolina journalist and beekeeper who frequently writes about food and farming.\u003c/em> \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Copyright 2016 \u003ca href=\"http://www.npr.org/\" target=\"_blank\">NPR\u003c/a>.\u003c/em> \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>To complicate matters, bee brokers who arrange contracts between beekeepers and almond growers are discovering that there are not enough beehives to go around, driving up demand, rental costs — and thefts.\u003c/p>\n\u003cp>Because of the expertise required to steal hives, the general consensus is that beekeepers are behind the heists.\u003c/p>\n\u003cp>\"Beekeepers have the knowledge and equipment to go in and take the hives and the market to profit from them,\" Qualls says.\u003c/p>\n\u003cp>Thieves targeting hives to rent during pollination season are not making off with one or two hives. In Butte County, several large-scale hive thefts occurred this year, with reports ranging from 64 to 200 hives swiped at a time.\u003c/p>\n\u003cp>\"Almond orchards are in rural areas with acres of trees, few homesteads and almost no surveillance,\" says Qualls, president and CEO of Pollination Connection. \"It's hard to monitor the hives.\"\u003c/p>\n\u003cp>Most hives are unmarked, making it impossible to identify hives that might be stolen. Beekeepers who do brand each of their hives with the names and numbers of their apiaries often fall victim to creative thieves who remove the frames (the guts of the hive that are covered with bees and laden with honey) and put them in new, unmarked hive bodies.\u003c/p>\n\u003cp>\"Thieves are going after easily accessible hives and unmarked hives,\" says Freeman. \"Someone who knows how to handle them can move 200 hives in a matter of minutes.\"\u003c/p>\n\u003cp>Because stolen hives are hard to detect, it's difficult for law enforcement to catch and prosecute thieves and return hives to beekeepers. When thieves are caught, the penalties are harsh.\u003c/p>\n\u003cp>Last week, a beekeeper stood trial for the theft of 64 hives that he pilfered from Butte County and rented to an almond grower (through a bee broker) in a neighboring county. At the trial for the February crime, he was convicted of grand theft of an animal — a felony in California — and sentenced to 90 days in county jail and three years' probation.\u003c/p>\n\u003cp>Insurance policies are cost prohibitive, according to Freeman, and few beekeepers are reimbursed for their losses. To combat bee theft, some beekeepers are putting GPS units in their hives. And some growers are hiring guards to patrol almond orchards overnight.\u003c/p>\n\u003cp>\"For the growers, this is their entire livelihood,\" Qualls says. \"If someone steals their bees, it hurts their crops.\"\u003c/p>\n\u003cp>It's not just large-scale apiaries and California almond growers feeling the sting.\u003c/p>\n\u003cp>In April, 184 hives valued at CA$200,000 were stolen in Quebec. Three hives were pinched from the garden at a dental office in Greenville, S.C., in February. And thieves made off with two hives from a clover field in Des Moines, Iowa, in May.\u003c/p>\n\u003cp>The Iowa theft was caught on a surveillance camera. The thieves pulled up in a pickup truck and loaded up the hives. None of the beehives, which belonged to the Iowa Honey Co., were branded, according to its owner, Rob Taylor.\u003c/p>\n\u003cp>Taylor, a beekeeper and member of the U.S. House of Representatives, lost the honey and equipment and spent more than $500 on replacements.\u003c/p>\n\u003cp>\"If someone steals the hives, they have no upfront costs,\" he says. \"Any honey they pull off at the end of the season is pure profit; they are short-cutting the system.\"\u003c/p>\n\u003cp>The sheriff who took the report said he'd never heard of a beehive theft before. When news of the stolen hives hit the local media, three more Iowa beekeepers came forward with similar reports.\u003c/p>\n\u003cp>Taylor hopes the surveillance footage will help local law enforcement catch the thieves and recover the stolen hives. In the meantime, he's branded the 17 additional hives he maintains in locations throughout Des Moines and installed GPS tracking systems in each one in case his hives are targeted again.\u003c/p>\n\u003cp>\"Who would have thought in the 21st century we'd have to worry about bee rustlers?\" he ponders.\u003c/p>\n\u003chr>\n\u003cp>\u003cem>Jodi Helmer is a North Carolina journalist and beekeeper who frequently writes about food and farming.\u003c/em> \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Copyright 2016 \u003ca href=\"http://www.npr.org/\" target=\"_blank\">NPR\u003c/a>.\u003c/em> \u003c/p>\n\n\u003c/div>\u003c/p>",
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"tagline": "The flip side of gentrification, told through one town",
"info": "Gentrification is changing cities across America, forcing people from neighborhoods they have long called home. Call them the displaced. Now those priced out of the Bay Area are looking for a better life in an unlikely place. American Suburb follows this migration to one California town along the Delta, 45 miles from San Francisco. But is this once sleepy suburb ready for them?",
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"tagline": "Exploring the Bay Area, one question at a time",
"info": "KQED’s new podcast, Bay Curious, gets to the bottom of the mysteries — both profound and peculiar — that give the Bay Area its unique identity. And we’ll do it with your help! You ask the questions. You decide what Bay Curious investigates. And you join us on the journey to find the answers.",
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"info": "KQED’s statewide radio news program providing daily coverage of issues, trends and public policy decisions.",
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"order": 8
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},
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"order": 1
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"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
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"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg",
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"source": "Commonwealth Club of California"
},
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"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
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"order": 9
},
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"id": "fresh-air",
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"hidden-brain": {
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"airtime": "SUN 7pm-8pm",
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"airtime": "SUN 7:30pm-8pm",
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"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
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"order": 18
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},
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"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
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},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
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"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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"rss": "https://feeds.publicradio.org/public_feeds/marketplace-pm/rss/rss"
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},
"masters-of-scale": {
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"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
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"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
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"source": "WaitWhat"
},
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"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
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"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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